It would not be difficult to prolong this catalogue of themes and
motives that have come down in the world, and are no longer presentable
in any society that pretends to intelligence. But it is needless to
enter into further details. There is a general rule, of sovereign
efficacy, for avoiding such anachronisms: "Go to life for your themes,
and not to the theatre." Observe that rule, and you are safe. But it is
easier said than done.
* * * * *
[Footnote 1: I have good reason for believing that, in M. Maeterlinck's
original scheme, Prinzivalle imposed no such humiliating condition.
Giovanna went of her own motive to appeal to his clemency; and her
success was so complete that her husband, on her return, could not
believe that it had been won by avowable means. This is a really fine
conception--what a pity that the poet departed from it!]
[Footnote 2: Much has been made of the Censor's refusal to license
_Monna Vanna_; but I think there is more to be said for his action in
this than in many other cases.
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